Thursday, December 20, 2012

Mining more of the fantastic County 500 series catalog, I came up with a transfer of this superb 1969 collection of rare old Texas Fiddle 78s from the twenties era. Since transferring this album the Lewis Brothers' "Bull at the Wagon" has stuck in my head day and night, but there's never a bad tune on a collection such as this. There's not much for me to add to the album's liner notes (by Charles Faurot), scans of which are included in the download. Enjoy!

The transcript from a telephone interview with Denmon Lewis, made by Charles Faurot on November 18, 1969 to obtain information for the liner notes of this album is here.

Monday, December 10, 2012

I haven't posted any Old Timey Southern music here at the Attic in some time and felt that another great title from County's old 500 series was due. County 532 features twelve great 1927-1930 recordings by a legendary Mississippi string band, "The Leake County Revelers". The Revelers' sound was somewhat more subdued that of many of their contemporaries, but is very enjoyable nonetheless. Their legacy seems to have lasted beyond the heyday of such bands; their recording of "Wednesday Night Waltz" remained in print throughout the 78rpm era, Ned Landry re-popularized the "Saturday Night Breakdown" in the fifties, and a later edition of the band appeared in a 1976 movie adaptation of the song "Ode To Billie Joe".
Unfortunately the jacket of this LP (scans of which along with the labels are included in the download folder) contains no notes, but an excellent biographical account of the group's members is on the Mississippi Country Music Trail's website and can be read here.

Tuesday, December 4, 2012

For a long time now followers of the Scratchy Attic have been requesting that I post some King albums by "The Hawk of the West Virginia Hills", Hawkshaw Hawkins. Hawkshaw was born on the 22nd of December, 1921 in Huntington, WV and famously perished in the same plane crash that claimed the lives of Cowboy Copas and Patsy Cline on the 5th of March, 1963.
Hawkins recorded for different labels throughout his career, but his finest recordings were made during his first stint at King from 1946 to 1953. It is those recordings which are featured on these two LP compilations first released in 1958 (the covers shown here are the second editions from 1963). Hawk went from King to RCA Victor in 1953, then to Columbia in 1959. In my opinion, his output for the latter two labels never really matched the quality of his earlier material. He returned to King in 1962 and achieved the only number one chart hit of his career, "Lonesome 7-7203"; ironically it only hit number one a short time after his death.

1. The Life Story Of Hank Williams
2. Blue Skies In Your Eyes
3. Two Roads
4. I'm Waiting Just For You
5. Unwanted
6. Tangled Heart
7. Pardon Me For Loving You
8. You Don't Belong To Me
9. A Heartache To Recall
10. Life Lost Its Color
11. I Hate Myself
12. Loaded With Love
13. All Because Of My Jealous Heart
14. I Wasted A Nickel
15. Handcuffed To Love
16. That's All She Wrote

Friday, October 26, 2012

Almost a year ago I posted all of Graham Townsend's 1960s LPs on Rodeo Records' Banff label and those transfers proved themselves exceptionally popular. Although Graham recorded for many labels over the course of his astounding career, he remained associated with Rodeo Records his entire life. In fact, both his very first (Fiddling To Fortune, 1958) and last (Still Going Strong, 1997) studio albums were released by the company.
One of my personal favourites of all of Townsend's albums is this 1987 collection of tunes, "Graham Townsend's House Party" (Rodeo RLP 8015). Although the liner notes claim "In this recording you are blessed with an actual taping of a real live ‘house party’ (no studio, no canned sound effects)", the back cover also states that the recording was made at "NRS Productions, Rd #2, Waterbury, Vt.", so I believe this session was done in a studio, albeit a relaxed and informal one. Accompanying Graham are many of the same crew from he and Eleanor's 1981 "Live at Barre, Vermont" album; both seem to have been produced during the Townsend's appearances on behalf of Vermont's Northeast Fiddler's Association. However the recording came to be, it's a blessing that it did, as here are preserved sixteen great tunes played exquisitely by Graham with as good a backup band as he ever had, in excellent sound quality to boot! To me, this album epitomizes what good fiddle music is all about, where technical mastery meets incredible feel and melodic inventiveness. Enjoy!

Graham guests on a 1993 episode of "Jubilee Years" here. Graham's first appearance on Don Messer's Jubilee is shown and he discusses the Messer show and his career.

Sunday, September 9, 2012

I'm pleased to report that of all my posts here at the Attic, some of the best response has been garnered by my own transfers of vintage Canadian Country. This pleases me because so little of this material has circulated otherwise, especially in the digital era. I feel that by transferring and encoding clean versions of these rare recordings I am hopefully perpetrating them for posterity. It is in the aforementioned spirit that I present two great collections of such material from the great Rodeo/Banff catalogue.

Two different albums titled "16 Great Country Songs by 16 Great Canadian Country Artists" were released on the Banff label in 1963 (RBS 1125) and 1964 (RBS 1190). Banff had an ongoing "16 Great" series with titles representing the various genres in which the label specialized such as fiddle, folk songs, country, etc. The collections were presumably meant to promote the label's artists to buyers who would perhaps pick up on a new favourite and purchase more of their recordings. Today the collections make great samplers by which collectors can familiarize themselves with artists whose original LPs and singles are scarce and out of circulation.

The present transfers are sourced from a pair of rare cassettes issued in the early 1980's on a series of tapes called "Canadian Cavalcade". Rodeo used the "Canadian Cavalcade" label on and off from the late 60's right through to the company's eventual demise. The tapes provide great fidelity on these rare, classic tracks.

Below are some brief notes on the artists/tracks:

RBS 1125

Luke Simmons & The Blue Mountain Boys, "Wabash Cannonball" - A performance of one of the most ubiquitous Country songs by Vancouver born Luke Simmons, who for a time had a significant career in New Zealand. The track was first featured on the late 50's Rodeo LP "Canadians Make Good Abroad" (RLP 53).

Donn Reynolds, "No One Will Ever Know" - This song, first popularized by Roy Acuff in the 40's, was a 1962 chart hit in Canada for champion yodeller Donn Reynolds. It was released as a single and also included on the Winnipegger's Banff LP "The Wild One".

Bob King, "The Little Shirt My Mother Made For Me"- An old novelty song popularized by Wilf Carter is rendered here by the Ottawa Valley legend, Bob King. The track is taken from his album "Just Me & My Old Guitar, Bob King Sings Songs That Tell A Story" (Banff RBS 1103). The album can be downloaded here.

Joyce Smith, "Jambalaya" - Joyce Smith was born in Lethbridge, Alberta. She toured with the Rodgers Brothers band for many years, and in the early 60's was the first to record "Leavin' On Your Mind", a song associated with the late Patsy Cline.

Stu Phillips, "Streets Of Laredo" - Calgary's Stu Phillips was a broadcasting and recording personality in Western Canada before becoming a member of the Grand Ole Opry in 1967. He performs in a gentle folk style reminiscent of the late Jim Reeves as is evidenced by his rendition of this western classic.

Angus Walker, "If Teardrops Were Pennies" - Angus Walker was a Nova Scotia artist who was an early Canadian practitioner of the emerging Bluegrass style. Here he turns in a performance of a tune made famous by Carl Smith.

Ron McMunn, "Wedding Bells" - The late Ron McMunn was a legendary exponent of Old-Time Country Music in the Ottawa Valley, performing over CJET, Smith's Falls and making many recordings for Rodeo in his prime.

Gerry Myers, "The French Song" - First recorded in 1945 by Annette and Carmen Richer as "Bonjour mon soleil", the tune was adapted by Moncton, New Brunswick broadcasting legends Gerry Myers and The Bunkhouse Boys whose late 50's recording was a regional favourite. In 1964 Lucille Starr had an international pop hit based on Myers' version.

Joe Kozak, "Tennessee Central No. 9" - Edmonton's Joe Kozak with a track from the LP "Canada Salutes Nashville, Tennessee" on which he was accompanied by the Rodgers Brothers Band (Banff RBS 1102).

Marg Osburne, "Sweet Betsy From Pike" - Don Messer's legendary vocalist Marg Osburne with a track taken from the 1959 LP "Marg Osburne Celebrates Rodeo's 100th Anniversary Album with a Century of Folk Songs" (Rodeo RLP 100). The LP was reissued in the later sixties as "The Golden Era of Marg Osburne" (Banff SBS 5329).

Russ Wheeler, "Tragic Romance" - This 1945 hit for Cowboy Copas was the title track from Wheeler's 1964 debut album on Banff. For a fantastic bio of Russ Wheeler, click here.

Gerry Hatton, "Mansion On The Hill" - A track from Hatton's (his first name is usually spelled "Jerry") first LP "The Texas Beat with Jerry Hatton" (Banff RBS 1122). Check out Jerry & Debbie Hatton's website here.

Hank Smith, "Hey, Good Lookin'" - German born Hank Smith (1934-2002) moved to Canada in 1957 to pursue a career as a Country singer. Here he sings a Hank Williams favourite.

Terry Parker, "He Taught Me To Yodel" - "Miss" Terry Parker began recording for Rodeo/Banff in 1961 and this track was on her debut album as well as being issued as her first single. Miss Parker was apparently a fixture on the nightclub circuit in Ontario and Quebec, and is featured on a rare soundtrack recording from an early 60's episode of CJSS-TV Cornwall's "OK Jamboree" previously posted here.

Billy Whelan, "Bouquet Of Roses" - Nova Scotian Bill Whelan was a veteran of Maritime radio, having performed on stations such as CJCH Halifax, CKBW Bridgewater, and CKCW Moncton, some of his broadcasts being picked up for national transmission via the CBC network. He can be viewed singing "From A Jack To A King" on a 1963 episode of "Don Messer's Jubilee" here at 5:03.

Hank LaRiviere, "Maple Sugar Sweetheart" - The original and definitive recording of LaRiviere's vocal adaptation of Ward Allen's 1956 hit fiddle solo "Maple Sugar". Ward plays fiddle on the present recording. Henri "Hank" LaRiviere performed later in his career as Hank Rivers. A bit of his amazing story can be read here.

Carl Ellis, "I Wonder Where You Are Tonight" - A fine rendition of a Country classic from the pen of Johnny Bond. Carl Ellis had an LP on the Banff label titled "The Country Sound of Carl Ellis". I have been unable to uncover any additional information about Ellis, so if anyone has anything to add, please comment.

George Beck, "Foolish Questions" - Maritime country legend George Beck performs a Country novelty tune. Beck and his Maritime Playboys had a popular TV Show on CHAU-TV in Chaleur Bay, Quebec when he recorded this tune for his Rodeo LP "George Beck's Jamboree" in the late 50's. He also made a classic album around the same time with a young Fred McKenna. McKenna later recorded this tune himself for Arc.

The Boutilier Bros, "My Walkin' Shoes Don't Fit Me Anymore" - A pioneering Canadian Bluegrass act, Nova Scotia's Boutilier Brothers made several albums for Banff in the early 60's. Here they perform a Jimmy Martin classic.

Linda Longard, "Sweet Lies" - A Marty Robbins classic performed by Linda Longard. I assume Linda was either the wife or sister of George Longard (see below).

George Longard, "My Everlasting Love" - A veteran of the Halifax country scene, Longard is still performing. His website can be viewed here.

Jerry Hatton, "The Wild Side Of Life" - From Jerry's second album, "Sittin' and Thinkin'" (Banff RBS 1187).

Shirley Field, "Shattered" - This 1963 recording was the lead track on Field's 1963 LP "Two Sides of Shirley Field" (Banff RBS 1186) and was released as a single as well (Rodeo 3177). Shirley Field is an accomplished yodeller and is still an active performer today. Her website is here.

Carl Lofstrom, "Tell Me Why My Daddy Don't Come Home" - Carl (sometimes spelled "Karl") Lofstrom of Fredericton, New Brunswick had a style reminiscent of both of Canada's first true country stars, Hank Snow and Wilf Carter. A short bio of Lofstrom, "The Yodelling Night Herder", can be read here.

Billy Whelan, "Rockin' Alone In An Old Rockin' Chair" - Whelan performs a classic "mother" song that was composed by Bob Miller in the early 30's.

Mac Beattie, "The Log Drivers' Song" - "The Log Driver's Song" was Mac Beattie and the Ottawa Valley Melodiers' first recording in the 1950's and it launched the group on an extraordinary recording career on the London, Rodeo, and Banff labels. Most of the groups original LPs have been featured at the Attic (click here) and the great Steve Fruitman of CIUT has a great Mac Beattie tribute page here.

Bob and Marie King, "The French Song" - Yet another version of this enduring standard, performed by Bob King and his wife, Marie. Marie's French singing on her English speaking husband's shows attracted so much attention that he made her the centre of their act. Rodeo started the Caprise label to release her and other francophone artist's recorings.

Brent & Harry, "Foolin' Round" - Nova Scotian neighbours Brent Williams and Harry Cromwell were pioneers in many ways. The were among the first Canadians of African descent to perform country music commercially, and also some of the first to perform Bluegrass. Here they're on the country side, singing a Buck Owens classic. Brent Williams is still a very active performer, check out his website here.

Angus Walker, "Poor Little Bullfrog" - Another Bluegrass number by Angus Walker, composed and first recorded by Jimmy Martin.

Sunday, August 19, 2012

This wonderful album by my perennial favourites, Homer & Jethro, was recorded in November 1959 at the Hillwood Country Club in Nashville on the occasion of the 8th Annual Disc Jockey Convention. Released in January of the next year, it was the duo's first live album. It was also the first to include banter, which was as big a part of their act as music, zany or legit.

This recording is a truly fascinating document of a Nashville long gone, when musicians, producers, deejays, and "industry types" from all over North America (and I suspect the world) pow-wowed in Music City for one wild weekend a year. The backup band is a group of "ringers" headed by legendary saxophonist Boots Randolph. Grandpa Jones, Jim Reeves and Jerry Byrd are in the audience. Oh, to be a fly on the wall!

Includes scans of the excellent jacket, and labels. Each side is a presented as a complete mp3 file.

Thursday, July 26, 2012

During my youth, the late, great Roy Acuff reigned as the "King of Country Music" and really was the music's figurehead. Acuff was the first national star to emerge from the Grand Ole Opry in the late 1930s, and though his recording career generally trailed off in the postwar years, he became for the remainder of his life a visual symbol of Country Music's heritage. Indeed, he was probably the most authentically "mountain" styled performer to have an international reputation in commercial Country Music. In his later years he was practically the dean of the Grand Ole Opry, and was featured prominently on Opry programs and many specials airing on mainstream network television. He kept his band of "Smoky Mountain Boys", featuring his legendary sidekick "Bashful Brother Oswald" together and performed on the Opry nearly until his death in 1992.

It is hard for me to believe that November 23 of this year will mark the 20th anniversary of Mr. Acuff's passing. It is also hard for me to believe the degree to which his legacy has faded in those years. His vacancy from the Opry stage and mainstream media allowed other performers to become similar figureheads, such as Bill Monroe and Johnny Cash, both gone now as well. It could be said that Little Jimmy Dickens, still performing on the Opry at over 90 years of age, is the current equivalent to this trend in a genre that despite it's commercial excesses, seems to still manage to at least sometimes honour it's veterans.

Presented here are two albums of Acuff's original Columbia recordings, released on the label's Harmony line in 1958 and 1961, respectively. The first features many of his best selling titles, while second focuses on sacred material, a large and important part of his repertoire. As I transferred these old LPs, I found I can truly say I still enjoy Roy's music as much now as I did during my boyhood when Acuff represented a dignified and enduring genre of music.

Thursday, May 31, 2012

As I'm sure almost any followers of this blog are aware, the great Doc Watson passed away Tuesday. I won't go into details of his phenomenal life, those who are curious can read the New York Times obituary here.
In memory of Doc, I present the first four albums he recorded for the Vanguard label, 1964-1966. These are not my transfers, and these folders don't contain any back jacket or label scans, but I believe this incredible material speaks for itself.
Long live the music of Doc Watson!

Monday, April 2, 2012

As many followers of the Scratchy Attic are no doubt aware, I have featured many posts of vintage Canadian country music. This post, while not Canadian, is nonetheless of great "local" significance to me. I live in the border city of Windsor, Ontario, mere blocks from the Detroit River, which is also the international border line. I can literally see the great towers of Detroit out of my window.
I therefore was most pleased when I discovered this fine LP of original recordings by Earl & Joyce Songer and The Rocky Road Ramblers, who were active in the Detroit country scene in the postwar era. Earl & Joyce were transplanted southerners who like countless others, both white and black, migrated northward to find work in the area's automotive industry. Informal music making eventually led to local careers as the demand for "hillbilly" music was driven by the waves of white southerners arriving in the area.
The Songer's music is definitely unique and transitional, far more old timey than the typical major label country of the time. As the liner notes state "This is delightful, genuine music displaying roots of considerable diversity and Joyce recalls that they were given a completely free hand. There are reflections of early bluegrass stylings as well as 30's string band music, displaying the origins of the Songer's music. At the same time, their considerable writing skills are demonstrated in imaginative new honky-tonk and up-tempo songs."
Perhaps the very contrast between the old rural and new urban life that marked the Songer's music is what led to their eventual musical and marital breakup; they divorced in 1955. The full account of Earl & Joyce's career is contained in this LP's wonderful and well written liner notes, scans of which are included in the download, along with sixteen original recordings. The notes also give approximate recording dates and session personel, and although no original labels are indicated, it is my understanding that these sides were originally released on the Fortune and Coral imprints.

Sunday, March 25, 2012

The Audio Lab albums I've presented in the past have always met a favourable reception. This post adds another nifty old slab to that collection. Released in 1960, AL 1523 features recordings originally from the 4 Star catalog by Webb Pierce, Marvin Rainwater, and Stuart Hamblen.
The early Webb Pierce titles were all recorded at the studios of radio station KWKH in Shreveport, Louisiana in 1950 featuring Buddy Attaway on guitar, Shot Jackson on steel, and Tillman Franks on bass. Of special note is "Groovy Boy" (originally released on 4 Star as "Groovie Boogie Woogie Boy"), an ode to a popular rhythm & blues DJ written and also recorded by Red Sovine. Ivan M. Tribe writes:Sovine also appeared often on personal appearances with Ray "Groovy Boy" Bartlett, a young KWKH deejay who made use of a pseudo-Negro accent to win a wide following among youth of both races in the Ark-La-Tex region. Red even had a song about him on MGM entitled "Groovy Boy."

A 1954 session at Ben Adelman Studios in Washington, D.C. yielded the four Marvin Rainwater tracks contained here. Wade Holmes plays lead guitar, Mickey Woodward steel, and the legendary Roy Clark plays bass. The identity of drummer and fiddler is unknown. This was a demo session; "I Gotta Go Get My Baby" was turned into a minor hit by Teresa Brewer in 1955 on Coral.
The final four tunes are by western singer turned gospel crusader Stuart Hamblen including his version of "Ace In The Hole", which I've always enjoyed. They are from a session in Hollywood in 1947, and feature backing by Hamblen's "Covered Wagon Jubilee Orchestra."

Wednesday, March 14, 2012

Courtesy of the Attic's new friend DJ Dannyjazz comes this transfer of a rare Canadian country album, recorded for Art Snider's Canatal label in 1964. Notes on the back slick are as follows:

On this LP, CANATAL records presents the Seibert Brothers, "Sons of the Saddle" group, a unit that has often been referred to as Canada's number one country and western band. The band was formed in Calgary in 1950, and since that time has made a strong bid for recognition in the top circles of entertainment. For the next five years, the boys entertained in and around Calgary, in Radio, and dance work. Hereafter, the C.B.C. called them to Winnipeg to take over the chores on "Saddle Songs", a weekly TV and Radio Show. Three years later, the band moved to Toronto and the night club circuit, where they became a success in the medium in the Toronto and Hamilton area, and as far south and west as the State of Nevada. At the present time, the band is appearing in Toronto at the well-known El Mocambo Tavern and Supper Club. Here the boys have had a record breaking engagement of nearly two years. For this album, the group picked a dozen numbers that have all at one time or another made the country and western hit parade. The band now consists of Lenny, Vic, and Gene Siebert, Johnny Allen, Lucky Ambeault, and vocalist Diana Leah

Thanks once again to DJ Dannyjazz for sharing this great album!

Includes front and back jacket scans.

Tracks:

1. Pick Me Up On Your Way Down
2. Big River
3. Nova Scotia Home
4. One More Ride
5. Jimmy Martinez
6. Cattle Call
7. Have A Drink On Me
8. I'll Be Lonesome When You're Gone
9. Little Boy Lost
10. Heartaches By The Number
11. My Shoes Keep Walking Back To You
12. Crazy Arms

Saturday, February 18, 2012

Probably the most widely distributed recordings by Don Messer are the twelve tunes he recorded for Rodeo in 1958. It has never been clear to me why Don, who recorded practically exclusively for the Compo Company's Apex label (later adopted into the MCA line) his entire career made a "25th Anniversary Album" for George Taylor's Rodeo Records. What I do know is that these tracks have been released in every format including 78 (pictured below), LP, 8-track, cassette, and finally to CD from which mp3 rips have circulated the internet.
The original LP release was Rodeo RLP 38 but like most Rodeo titles it was later re-issued on the label's Banff line as "Canada's Don Messer and His Islanders" (Banff RBS 1266, c. 1965). Unfortunately a (fake) stereo version of the Banff issue was also offered (Banff SBS 5266) and this edition accounts for most of the circulating copies. Subsequent adaptations of the album to other formats have continued to use the the "stereo" versions, which have also found their way onto many Canadian fiddle compilations. I can usually tolerate fake stereo more than most and put up with a little echo, but in my opinion what was done to these classic recordings is right up there with Capitol's dreadful "duophonic" monstrosities. I am pleased, therefore, to present here what I believe are the first digital versions sourced from the rare original mono LP. Enjoy!

Saturday, February 4, 2012

Canadian fiddle legend Don Messer began recording in 1937 and continued to do so until his death in 1973. During those years hundreds of titles were released, first on 78 rpm and later 45 rpm singles, as well as over 30 LPs. In fact Messer's material was so enduringly popular in his own lifetime that by 1960 most of his pre-vinyl singles had been compiled onto a series Apex LPs. On "Rare Singles" I have gathered twelve tunes recorded between 1937 and 1960 that for whatever reason never made it to these albums. Details of the twelve titles are as follows:

Patronella (Melotone 93106, Starr 16072, Apex 26299-B) - Messer's first records were made in 1937 employing an unconventional process whereby the Compo Company of Montreal arranged permission to record tunes off his CBC network radio broadcasts. Six titles were recorded this way and first released on the Melotone label as "Don Messer and His New Brunswick Lumberjacks" and on the Starr label (aimed at the French Canadian market) as "Orchestre Don Messer". In the 1940s these recordings were integrated into the Apex label's 26000 series with the more familiar "Don Messer and His Islanders" label credit and by 1960 five of the six titles were reissued on LP. "Patronella", recorded July 3, 1937, had to wait until 1979 when a fairly noisy transfer was included on "The Good Old Days", a collection of vintage Messer records and radio transcriptions (click here). The present version is a new transfer from an Apex 78 issue of the original matrix on which an announcer's clipped intro can be heard immediately before the tunes starts. Presumably this is due to the "on the fly" nature of cutting a matrix off live radio.Yesterday's Roses / When Paddy McGinty Plays His Harp (Apex 26295-A/26295-B) - In July of last year I posted a collection of recordings by Charlie Chamberlain including a number of titles from 1940s Apex 78s (click here). Since that time I was lucky enough to add this 78 to my collection, thanks to the Attic's good friend Stephen of Cedar Island. Charlie croons a ballad on side A and hams his way through an Irish novelty on side B.Cec McEachern's Breakdown (Apex 26318-B) - PEI born Cecil McEachern composed this tune which despite becoming standard Canadian fiddle repertoire was never issued on LP. The recording is from 1950, the year before guitarist/fiddler McEachern officially joined the band, but I strongly suspect he is playing second fiddle to Messer on this recording. Cecil is one of the last surviving Islanders alumni, and can be seen here playing in August of last year.The Growling Old Man And Old Woman (Apex 26322-B) - This great Acadian reel was the flip side of Messer's classic 1950 "Woodchopper's Breakdown" 78. The tune later became a signature of the great Acadian fiddler Gerry Robichaud. It should not be confused with "The Old Man and The Old Woman" (Apex 26303, 1948), a Quebecois tune which was recorded by Madame Bolduc in 1930 (click here). The Messer recording of the latter tune features Charlie Chamberlain recalling Bolduc's chorus; a live version from "Don Messer's Jubilee" can be viewed here.Gypsy Hornpipe / Harvest Home Hornpipe (Apex 26333-A/26333-B) - Two traditional tunes were issued on this 1952 Apex 78. While "Harvest Home" never made it LP, "Gypsy Hornpipe" was issued on "On The Air", a 1960 promo LP produced for Canada Packers as a customer incentive. The present transfer of "Gypsy Hornpipe" comes from that LP, which can be downloaded here.The Old Red Barn / The Opera Reel (Apex 26340-A/26340-B) - A 1953 release that featured a jig and a reel, both traditional. The electric guitar solo in "The Old Red Barn" is by Cecil McEachern.Johnny's Jig (Apex 26429) - This composition of Messer contemporary John Fraser was released on a 1957 45 (b/w "The Skipping Mouse Polka").Bonnie Prince Charlie / Snowflake Breakdown (Apex 9-26447) - Messer released his last batch of singles in 1960 and thereafter concentrated on the LP market. This pairing of two tunes composed by Wally Traugott is from one of these very scarce 45s. The fascinating Wally Traugott was a legendary Canadian fiddler who went on to become a legendary L.A. mastering engineer, having mastered several classic rock LPs. His original late 1950s recording of the now classic "Snowflake Breakdown" can be downloaded here.

In addition to these tracks, which have long been out of circulation, I hope to soon present transfers of Don Messer's original LPs which include the bulk of his early titles.

Friday, January 13, 2012

Two rare and sought-after albums are featured in this post, the original mono editions of the instrumental "Pickin' Strings" LPs by the Hachey Brothers. Brothers Curly and Bobby Hachey were natives of Atholville, New Brunswick. Performing early on as the "Sunset Playboys", by the fifties they were known as the Hachey Brothers and gained a great deal of exposure performing with Willie Lamothe as his backup band. Bobby Hachey remained with Willie Lamothe for many years and became legendary in Quebec for his virtuosity as a lead guitarist.
"Pickin Strings Country Style" was released in 1958 (Banff RBS 1038, also released as Rodeo International RCW 1009) and although it contains no personnel listings, it pictures left to right Fernand Thibault on tenor banjo (also played violin), Bobby Hachey on mandolin (also played lead electric guitar), Curly Hachey on rhythm guitar and Mary Lou Farrah on upright bass. "Pickin' Strings No. 2" (Banff RBS 1052) is from 1960 and also lists no personnel. The Hachey Brothers and Fernand Thibault appear with Willie Lamothe on the 1960 London LP "Willie LAMOTHE et ses Cavaliers des Plaines" which can be downloaded from Uncle Gil's Rockin' Archive here.

Monday, January 9, 2012

Mac Beattie and the Ottawa Valley Melodiers are one of my very favourite "classic" Canadian country bands, and I am most pleased to present seven of their vintage Banff albums at the Scratchy Attic.
"A Visit to the Ottawa Valley" was the group's first LP, originally issued on the Rodeo label (RLP 64) c. 1960, and reissued on Banff (RBS 1170) in 1963. Some of the recordings comprising the LP were definitely first released as singles in the fifties on the Rodeo and London labels; I'm not sure if any of these tracks were recorded at the time of the album's release or not.
John MacNab Beattie (1916-1982) was a native of Arnprior, Ontario. He led the Melodiers from 1937 on and off until his death, and became a legend in the Ottawa Valley playing dances, bars, radio and television. He composed songs about Valley life and culture, several of which have become classics. His autobiography, "This Ottawa Valley of Mine" was published shortly after his death in 1982 and is a fascinating document of not only Mac and the Melodiers, but of Valley life in the early and mid 20th Century. If you can't track down a copy, you can visit a wonderful website dedicated to Mac here.

"Canadian Folk and Country Songs" (Banff RBS 1185), Mac and the Melodier's second album, was released in 1964. Like RBS 1211, it contains songs most associated with Beattie's legacy such as "My Red Headed Girl From Quebec" and "In A Little Shack Up The Pontiac."

"This Ottawa Valley of Mine" (Banff RBS 1211) was released in 1965 and may be Mac's most classic album. It contains songs that have become standard fare for Canadian folk singers such as "Saturday Night Up The Gatineau", "Train Wreck At Almonte", etc.

Includes jacket and label scans.

Tracks:

1. This Ottawa Valley Of Mine
2. Sing A Swingy Lullaby
3. Carleton County
4. Saturday Night Up The Gatineau
5. Delta, My Leeds County Home
6. Train Wreck At Almonte
7. Bank Robbery At Cobden
8. The Lanark Fire
9. My Renfrew County Home
10. St. Patrick's Day At Neville's

From 1965 comes "Sing a Song" (Banff RBS 1242). It includes nine tunes composed by Mac as well as the traditional Irish song "The Stone Outside Dan Murphy's Door". Of particular note is the tribute to then-recently departed fiddler Ward Allen, "Maple Sugar Blues" and a great ode to classic Canadian fiddle culture, "The Old Tyme Fiddler's Dream."
Between this release and "25th Anniversary", Mac and the Melodiers released two other LPs. "Instrumental Favourites" (Banff RBS 1261) from 1966 featured instrumentals by Melodiers Jim Mayhew (piano) and Al Utronki (guitar). "Thru The Years" (Banff RBS 1282) was comprised of standards such as "Love Letters In The Sand" and "A Shanty In An Old Shanty Town"; it contained no Beattie originals.

Includes jacket and label scans.

Tracks:

1. Sing A Song
2. Just A Little While Ago
3. The Turkey's End
4. Could It Have Been Heaven
5. Rockabye Waltz
6. Maple Sugar Blues
7. The Old Tyme Fiddler's Dream
8. Tonight At My Table All Alone
9. Swingin' At The Hotel Renfrew
10. The Stone Outside Dan Murphy's Door*download here*

"25th Anniversary" (Banff RBS 1299) was released in 1968 to commemorate the Melodier's silver anniversary. It features ten of Mac's compositions including his tribute to the legendary Charlie Chamberlain.

Includes jacket and label scans.

Tracks:

1. A Fiddle, Gee-tar And Washboard
2. Misery Loves Company
3. Country Music Man ''Chuck Davis''
4. The Beaches Of Dieppe
5. A Canadian Song Of Thanks
6. On The Banks Of The Ottawa
7. Northern Ontario Blues
8. Mister Charlie Chamberlain
9. Dream Island
10. Moonlight Memories*download here*

"In Stereo By Request" (Banff SBS 5312) was released in 1969 and features stereo re-recordings of nine songs previously recorded by the Melodiers, as well as "Riding Down To Santa Fe" which I believe was their radio theme in the thirties.

This is the first of seven posts in which I will present seven albums by Mac Beattie and the Ottawa Valley Melodiers. I am beginning with 1971's "Mr. Ottawa Valley" (Banff SBS 5333) and working my way back to his first, "A Visit To The Ottawa Valley" (Banff RBS 1170).
"Mr. Ottawa Valley" was Mac's last solo album, he released an LP with his daughter Bonnie in 1975, "Dad and Daughter" (Banff SBS 5419)

Sunday, January 8, 2012

Having long been a great admirer of the legendary Michael Coleman's recordings, I was quite pleased to recently discover the work of his duet partner and contemporary, Packie Dolan. The only substantial information I was able to find about him is the following account from the now defunct Irish music site "The Knotted Chord":

Musicians of Longford: (The Knotted Chord Archive, 2002).

Packie Dolan (1904-1932) Fiddle, singer, dancer.

Patrick James or Packie Dolan was born in Ballinamuck, Co.Longford, the eldest of 9 children. His father John, a small farmer, played fiddle and taught Packie.The area in which he was reared was well known for it's music. Fiddles and flutes were most common but uilleann pipes, tin whistle, accordion and concertina were popular also as well as singing. Frank Quinn and John Clarke before Packie and Paddy Reynolds after were famous New York based fiddlers and all came from this area.With the depressed years during and after the first world war John and his wife Catherine decided to send their eldest children to the U.S.(Seven of the 9 would eventually emigrate to the U.S.). Packie, then aged 15 and his 13 year old sister Veronica Rose sailed from Liverpool to New York in December 1919, stayed with an Aunt and completed their education.1920's New York was a very exciting place to be with opportunities aplenty. Packie married Briggetta Gaffney, also from Longford, in 1925 but tragically she died the following year of pneumonia. Packie was a plumber by trade and had steady employment and played music by night. His popularity with audiences, his jovial personality, good looks, and most of all musical ability on the fiddle made him a target of the many recording companies signing Irish artists at that time. He began recording in 1927, a duet with Michael Coleman initially, with Brunswick. His first solo was released by Colombia, followed by another duet with Coleman, also with Colombia.In 1928 he got a job as a chauffeur and started his own band, "Packie Dolan and the Melody Boys" for the Ballroom circuit. The Victor label recorded them in May 1928. Hughie Gillespie, the fiddler from Donegal, was among the members. Their style and instrument combination of fiddle, whistle, and bones/bodhran, was unique and later formed the backbone of Sean O'Riada's Ceoltoiri Chualann and in turn the Chieftains.In all, Packie recorded 24 sides in 6 sessions over 22 months which is the total output remaining. He was heavily influenced by the Sligo fiddle style, especially Coleman, but also James Morrisson. He also recorded some vaudeville style songs but not in the stage Irish form then popular. On "Mother Malone" he sings, dances, mentions himself in the lyric and plays fiddle.In 1929 he made a visit home to Ireland for two months, a most unusual event in those days, which came about through a booking for his group as ships entertainment on a special excursion. The Wall Street crash in October 1929 meant the collapse of record sales but Packie was able to go back to plumbing. He became an American citizen in 1930 and married, in 1931, Marguerite Finneran from Roscommon. They were due to return permanently to Ireland in late 1932, awaiting the birth of their daughter Marjorie, when tragedy struck once more. A ferryboat was taking workmen to a building site on Rikers Island when on the third run that morning the boiler exploded and the ship went down with 125 men on board. Sixty eight men died including Packie Dolan, age just 28, an inestimable loss to future generations. His music was released by Harry Bradshaw on his VivaVoce label in 1994, titled "the forgotten fiddle player of the 1920's"(HB).

I find both his recordings and the account of his tragic life compelling. Listening to these tracks I'm struck by how much of his influence I can retroactively hear in the music that followed later in various traditions. His fiddling seems smoother and more rolling than Coleman's; perhaps this appeals to my Ontarian ears as I find his playing more accessible. I'm also taken with his impish vocal delivery, he was clearly as great an entertainer as he was a musician. Both "Mother Malone" and "Erin's Green Shore" turn up in the repertoire of the late million-selling Newfoundlander Harry Hibbs in versions that were clearly derived from Nolan's records, either directly or a few times removed. I'm sure more such lineage's could be traced, but I'll let the recordings speak for themselves.

Included in the download are the 22 tracks from the 1994 collection plus one additional track I found online and added.